he eye for a climax which would otherwise be too abrupt. The central
pavilion of the Chateau Maintenon, with its two turrets, echoes the
entire facade with its two towers. Like the overture to an opera, it
introduces themes which find a more extended development elsewhere
(Illustration 26).

[Illustration 25]

[Illustration 26]

[Illustration 27]

This law of Consonance is operative in architecture more obscurely
in the form of recurring numerical ratios, identical geometrical
determining figures, parallel diagonals and the like, which will be
discussed in a subsequent essay. It has also to do with style and
scale, the adherence to substantially one method of construction and
manner of ornament, just as in music the key, or chosen series of
notes, may not be departed from except through proper modulations, or
in a specific manner.

Thus it is seen that in a work of art, as in a piece of tapestry,
the same thread runs through the web, but goes to make up different
figures. The idea is deeply theosophic: one life, many manifestations;
hence, inevitably, echoes, resemblances--_Consonance_.

DIVERSITY IN MONOTONY

Another principle of natural beauty, closely allied to the foregoing,
its complement as it were, is that of _Diversity in Monotony_--not
identity, but difference. It shows itself for the most part as a
perceptible and piquant variation between individual units belonging
to the same class, type, or species.

No two trees put forth their branches in just the same manner, and no
two leaves from the same tree exactly correspond; no two persons
look alike, though they have similiar members and features; even the
markings on the skin of the thumb are different in every human hand.
Browning says,

"As like as a hand to another hand!
Whoever said that foolish thing,
Could not have studied to understand--"

Now every principle of natural beauty is but the presentment of some
occult law, some theosophical truth; and this law of Diversity in
Monotony is the presentment of the truth that identity does not
exclude difference. The law is binding, yet the will is free: all men
are brothers united by the ties of brotherhood, yet each is unique, a
free agent, and never so free as when most bound by the Good Law. This
truth nature beautifully proclaims, and art also. In architecture it
is admirably exemplified in the metopes of the Parthenon frieze: seen
at a distance these must have presented a scarcely dist